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They who know sounds, control it and harmonize 懂得声音的人,能控制声音并使之和谐
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-06-19 DOI: 10.1080/20551940.2023.2226350
M. Emett
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引用次数: 1
Present-day “mise-en-sonore”: hearing our digitally mediated milieu 当今的“主声”:聆听我们的数字媒介环境
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-06-18 DOI: 10.1080/20551940.2023.2226355
Nick Poulakis
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引用次数: 0
‘All possible sounds’: speech, music, and the emergence of machine listening “所有可能的声音”:语音、音乐和机器听力的出现
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-04-10 DOI: 10.1080/20551940.2023.2195057
James E K Parker, Sean Dockray
ABSTRACT “Machine listening” is one common term for a fast-growing interdisciplinary field of science and engineering that “uses signal processing and machine learning to extract useful information from sound”. This article contributes to the critical literature on machine listening by presenting some of its history as a field. From the 1940s to the 1990s, work on artificial intelligence and audio developed along two streams. There was work on speech recognition/understanding, and work in computer music. In the early 1990s, another stream began to emerge. At institutions such as MIT Media Lab and Stanford’s CCRMA, researchers started turning towards “more fundamental problems of audition”. Propelled by work being done by and alongside musicians, speech and music would increasingly be understood by computer scientists as particular sounds within a broader “auditory scene”. Researchers began to develop machine listening systems for a more diverse range of sounds and classification tasks: often in the service of speech recognition, but also increasingly for their own sake. The soundscape itself was becoming an object of computational concern. Today, the ambition is “to cover all possible sounds”. That is the aspiration with which we must now contend politically, and which this article sets out to historicise and understand.
“机器听力”是一个快速发展的跨学科科学和工程领域的常见术语,“使用信号处理和机器学习从声音中提取有用的信息”。本文通过介绍机器听力作为一个领域的一些历史,为批评性文献做出了贡献。从20世纪40年代到90年代,人工智能和音频的研究沿着两条方向发展。有关于语音识别/理解的工作,也有关于计算机音乐的工作。在20世纪90年代初,另一股潮流开始出现。在麻省理工学院媒体实验室(MIT Media Lab)和斯坦福大学(Stanford)的CCRMA等机构,研究人员开始转向“听力中更基本的问题”。在音乐家的推动下,语言和音乐将越来越多地被计算机科学家理解为更广泛的“听觉场景”中的特定声音。研究人员开始为更多样化的声音和分类任务开发机器听音系统:通常用于语音识别,但也越来越多地用于它们自己。音景本身正在成为计算关注的对象。如今,他们的目标是“覆盖所有可能的声音”。这就是我们现在必须在政治上与之斗争的愿望,这篇文章旨在将其历史化并加以理解。
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引用次数: 0
Soundings through creation, evolution and crisis 探索创造、进化和危机
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-03-21 DOI: 10.1080/20551940.2023.2191458
L. Knight
Altman, Rick, McGraw Jones, and Sonia Tatroe. 2000. “Inventing the Cinema Soundtrack: Hollywood’s Multiplane Sound System.” In Music and Cinema, edited by James Buhler, Caryl Flinn, and David Neumeyer, 339–359. Hanover, NH and London: Wesleyan University Press and University Press of New England. Biancorosso, Giorgio. 2009. “Sound.” In The Routledge Companion to Philosophy and Film, edited by Paisley Livingston and Carl Plantinga, 260–267. London and New York, NY: Routledge. Branigan, Edward. 1997. “Sound, Epistemology, Film.” In Film Theory and Philosophy, edited by Richard Allen and Murray Smith, 95–125. Oxford and New York, NY: Oxford University Press. https://doi.org/10.1093/acprof:oso/ 9780198159216.003.0005 . Cascone, Kim. 2000. “The Aesthetics of Failure: ‘Post-digital’ Tendencies in Contemporary Computer Music.” Computer Music Journal 24 (4): 12–18. https://doi.org/10.1162/014892600559489 . Deleuze, Gilles, and Félix Guattari. 1972. Anti-Oedipus. translated by Robert Hurley, Mark Seem, and Helen R. Lane. London and New York, NY: Continuum. Dyson, Frances. 2009. Sounding New Media: Immersion and Embodiment in the Arts and Culture. Berkeley,CA and Los Angeles, CA: University of California Press. Gorbman, Claudia. 1987. Unheard Melodies: Narrative Film Music. Bloomington, IN and London: Indiana University Press and BFI Publishing. Kania, Andrew. 2009. “Realism.” In The Routledge Companion to Philosophy and Film, edited by Paisley Livingston and Carl Plantinga, 237–247. London and New York, NY: Routledge. Kassabian, Anahid. 2013. “The End of Diegesis as We Know It?” In The Oxford Handbook of New Audiovisual Aesthetics, edited by John Richardson, Claudia Gorbman, and Carol Vernallis, 89–106. Oxford and New York, NY: Oxford University Press. Kerins, Mark. 2011. Beyond Dolby (Stereo): Cinema in the Digital Sound Age. Bloomington, IN and Indianapolis, IN: Indiana University Press. Morton, Timothy. 2009. Ecology without Nature: Rethinking Environmental Aesthetics. Cambridge, MA and London: Harvard University Press. Schafer, R. Murray. 1994. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, NY: Destiny Books.
奥特曼,里克,麦格劳·琼斯,索尼娅·塔特罗,2000。《发明电影配乐:好莱坞的多平面音响系统》《音乐与电影》,詹姆斯·布勒、卡里尔·弗林和大卫·诺伊梅耶主编,339-359页。汉诺威,新罕布什尔州和伦敦:卫斯理大学出版社和新英格兰大学出版社。比安科罗索,乔治。2009。“声音”。《劳特利奇哲学与电影伴侣》,佩斯利·利文斯顿和卡尔·普兰廷加编辑,260-267页。伦敦和纽约,纽约:劳特利奇。爱德华。布莱尼根1997。“声音,认识论,电影。”《电影理论与哲学》,理查德·艾伦和默里·史密斯主编,95-125页。牛津和纽约,纽约:牛津大学出版社。https://doi.org/10.1093/acprof:oso/ 9780198159216.003.0005。金·卡斯康,2000。“失败的美学:当代电脑音乐的‘后数字’趋势”计算机音乐学报,24(4):12-18。https://doi.org/10.1162/014892600559489。德勒兹,吉尔斯,和fsamlix Guattari 1972。悔罪。由罗伯特·赫尔利、马克·斯梅和海伦·r·莱恩翻译。伦敦和纽约:连续统一体。弗朗西丝·戴森,2009。聆听新媒体:艺术与文化的沉浸与体现。加州伯克利和洛杉矶:加州大学出版社。克劳迪娅·戈尔曼,1987。闻所未闻的旋律:叙事电影音乐。布卢明顿,印第安纳州和伦敦:印第安纳大学出版社和BFI出版。安德鲁·卡尼亚,2009。“现实主义”。《劳特利奇哲学与电影伴侣》,由佩斯利·利文斯顿和卡尔·普兰廷加编辑,237-247页。伦敦和纽约,纽约:劳特利奇。卡萨比安,阿纳希德,2013。《我们所知的消化的终结?》《牛津新视听美学手册》,由约翰·理查森、克劳迪娅·戈尔曼和卡罗尔·维尔纳利斯编辑,89-106页。牛津和纽约,纽约:牛津大学出版社。马克·克林斯,2011。超越杜比(立体声):数字声音时代的电影。印第安纳州布卢明顿和印第安纳波利斯:印第安纳大学出版社。莫顿,蒂莫西。2009。没有自然的生态:重新思考环境美学。剑桥,马萨诸塞州和伦敦:哈佛大学出版社。谢弗,R.默里。1994。音景:我们的声音环境和世界的调谐。罗切斯特,纽约州:命运出版社。
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引用次数: 0
Bat/Man: echolocation, experimentation, and the question of the human 蝙蝠/人:回声定位、实验和人类的问题
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-03-02 DOI: 10.1080/20551940.2023.2180858
Julianne Graper
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引用次数: 0
See, hear, feel- an overturn of sensory perceptions 看、听、感觉——感官知觉的颠覆
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-02-28 DOI: 10.1080/20551940.2023.2183609
T. Kavitha
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引用次数: 0
Ethnography and sound: recent methodological efforts in a strongly patrimonialised space 人种学和声音:最近在强烈的世俗化空间中的方法论努力
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-01-02 DOI: 10.1080/20551940.2022.2163800
Juan Javier Rivera Andía
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引用次数: 0
Titles available for review 可供阅览的书目
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-01-02 DOI: 10.1080/20551940.2023.2166191
H. Schulze
Engaging with Everyday Sounds, by Marcel Cobussen. Cambridge, United Kingdom: Open Book, 2022. Re-Making Sound: An Experiential Approach to Sound Studies, by Thomas Porcello and Justin Patch. New York, New York: Bloomsbury Academic, 2022. Sensory Futures: Deafness and Cochlear Implant Infrastructures in India, by Michele Ilana Friedner. Minneapolis, Minnesota: University of Minnesota Press, 2022. Sound and Reason: Synesthesia as Metacognition, by Sven Hroar Klempe. Singapore, Singapore: Palgrave Macmillan, 2022
马塞尔·科布森的《融入日常声音》。剑桥,英国:Open Book, 2022。《重新制造声音:声音研究的经验方法》,作者:Thomas Porcello和Justin Patch。纽约,纽约:布卢姆斯伯里学术出版社,2022。《感觉未来:印度的耳聋和人工耳蜗基础设施》,作者:Michele Ilana Friedner。明尼阿波利斯,明尼苏达州:明尼苏达大学出版社,2022。《声音与理性:作为元认知的联觉》,作者:Sven Hroar Klempe。新加坡,新加坡:Palgrave Macmillan, 2022
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引用次数: 0
Lasting echo 持久的回声
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-01-02 DOI: 10.1080/20551940.2023.2174062
Valentina Bertolani
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引用次数: 0
Composing the past: kitchen sound installation at Ham House 谱写过去:咸屋的厨房声音装置
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-01-02 DOI: 10.1080/20551940.2023.2175461
Jeanice Brooks
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引用次数: 0
期刊
Sound Studies
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